it interesting to find things i never knew existed or see that that way. >> i think that is really great that san francisco seize the vails of small business and creates the shop & dine in the 49 to support businesses make people all the residents and visitors realize had cool things are made and produced in san meeting of the visual arts committee for wednesday november 19th, 2025 and calling this meeting to order. tara can you call the roll? >> yes a chair first here commissioner beltran here commissioner cohen present commissioner prize here,

commissioner mosley here and commissioner walker here. >> for the record we have quorum for today's meeting also for the record civic art collection and public art program director mary chu evan glenn w director of programs and ralph remington director of cultural affairs are all in attendance. great thanks tara. do we have any changes to the agenda? there are two changes we are going to table item 3.7 additionally there's an edit to the dollar amount in item h the motion will now read discussion and possible action to improve an increase of light bright neon studio llc contract from 1,630,907 to 1,758,588 an increase of $127,681 to include revised scope for fabrication,

transportation and consultation during installation of an artwork by andrea bowers dba radical patients incorporated for the san francisco international airport. harvey milk terminal one underpass lighting project. >> with that i'd like to begin the meeting. i'd like to welcome all persons interested in this meeting to attend in person at one dr. carlton be good place room 416 this meeting is being streamed on s.f. gov while this technology grants us better accessibility for individuals listening to the meeting remotely, please be mindful that tech related difficulties may occur which could contribute to the gaps and delays as staff transitions the technology. please know that we are doing our best and we ask for your patience. i want to remind us of the policies and procedures for public meetings at this meeting we are bound to follow the structure of our agenda and adhere to the best practices set out in the good government guide. at every public meeting there is an opportunity for general public comment or members may

comment on any item pertaining to this body. public comment will be taken in person with remote access provided for those who require an ada accommodation. respect actually we ask that you keep your public comment on topic. each public comment is limited to three minutes. please understand that the committee does not contribute dialog towards public comments. each comment will be documented for public record. the ringing and use of cell phones, pagers and similar sound producing electronic devices are prohibited at this meeting. the chair may order the removal from the meeting room of any persons responsible for the ringing or use of a cell phone, pager or other similar sound producing electronic device. please note that there is fourth floor has a women's restroom located on the north east side. men's on the south southeast side just outside this room and in all gender restroom on the southwest side. in case of emergency your nearest stair exit is the southeast corner on the fourth floor right outside the store.

there are stairs, stair exits located on each for each corner of the floor. it is recommended to pull the fire alarm and use stairs. fire alarm is a variable tone and strobe lights will flash if strobe lights and alarms go off you must evacuate the building. wheelchair accessible entrances are located on venus avenue and grove street. there are elevators and accessible restrooms located on every floor. i will now turn it over to program associate associate tara peterson for public comment. >> instructions from members of the public who wish to comment on agenda items you will be asked to voice your your comment at the podium. it is recommended but not required to fill out a public comment card. i will start your three minutes when you speak using a visual timer. you'll also receive a 32nd audible warning when your time is up. i will say your time is up. participants who wish to speak on other agenda items may listen for the next public comment opportunity. anyone who speaks during a public comment period at today's meeting can send a summary of their comments to be

included in the minutes. if it is 150 words or less to start up peterson at s.f. gov.org. the summary may be rejected if it exceeds the prescribed word limit or is not an accurate summary of the speaker's comments. persons attending the meeting and those unable to attend may submit written comments regarding the subject of the meeting. such comments will be made part of the official public record and will be brought to the attention of the committee. written comments should be submitted to arts commission staff via email to target peterson s.f. gov dorji by 5 p.m. before the date of the meeting to ensure comments are shared with commissioners ahead of the meeting. please note the names and addresses included in these submittals may become part of the public record. submittals may be made anonymously. >> written public comments submitted to sfa staff will not be read aloud during the meeting. >> communications received after 5 p.m. before the date of the meeting may be delivered to sfa city staff and will be shared with the commissioners. if you need to request a

reasonable accommodation under the ada or need to request language assistance you must contact the program associate at least 48 hours in advance of the meeting. we will make every effort to accommodate all requests. >> commissioner farrah spaghettios began the meeting. when you're ready. thank you so much, tara. i would like to start the meeting by inviting commissioner perez to read our land acknowledgment statement. >> thank you. the san francisco arts commission acknowledges that we are under unceded ancestral homeland of the roma to a colony who are the original inhabitants of the san francisco peninsula. as the indigenous stewards of this land and in accordance to their traditions dramaturge alone we have never ceded lost nor forgotten their responsibilities as the caretakers of this place as well as for all peoples who reside in their traditional territory. as guests we recognize that we've benefit from living and working under a traditional

homeland. we wish to pay our respects by acknowledging the ancestors elders and relatives of dramaturge community and by affirming their sovereign rights as first peoples. >> as a department dedicated to promoting a diverse and equitable arts and culture environment in san francisco, we are committed to supporting the traditional and contemporary evolution of the american indian community. >> thank you so much commissioner brett. all right. i'd like to call item two general public comment. this item is to allow members of the public to comment generally on matters within the commission's purview as well as to suggest new agenda items for the commission's consideration. so any public comment on item two general public comment? >> thank you. okay. a never mind ex read it sorry tech thing i was trying to figure out. okay.

>> um if you'd like to make public comment please proceed to the podium and fill out an information card. we're currently on item two. as a reminder, your time will start when you begin speaking. you will see a visual timer and receive a 32nd audible warning before your time concludes. is there anyone who would like to make public comment on the current agenda item? thank you. just a few minutes. let's give it a few more seconds

. okay. >> are they having. >> i think we can go. okay. they're having technical. yeah. there is no public comment at this time. >> thank you. all right. then i would like to call item three the consent calendar. we have several discussions and possible actions. commissioners feel free to take a look over the consent calendar. >> >> asking commissioners for any withdrawals or recusals. seeing none. we will now take all consent

calendar items except for item 3.7 which is tabled and only items 3.1 through 3.6 and 3.8 to 3.11 will be voted on. calling for commissioner discussion or questions. yes i was just i had asked and maybe it would be good to have us talk about the the first four five actually and what those amounts go for if mary could. >> yeah. i think you have to sever it to talk about it. okay. so make a motion to sever the one through for those who five one through five went through five. yes. again, just just so not you know, that controversial i just it would be good to explain sort of what it is. >> so we have a motion to sever items 3.1 through 3.5 and a second item.

>> i think we already have a second rate. all those in favor say i. i l opposed say nay that passes unanimously unanimously we will sever. item 3.1 to 3.5 to have a separate discussion. and we'll be putting that on the agenda after a consent calendar. all right then move for any other commissioner comments or questions. no and then seeing none i would like to change our motion to. >> and just make sure i'm calling the right ones. we are going to be approving the consent calendar for 3.7 through 3.11. all those. >> can i get a motion moved o 3.6 get rid of my line here was removed. >> thank you. >> 3.823 thank you. three point eight basically everything but one through five and the one that is tabled which is the eyeliner mural.

>> so everything else should be taken 3.8 through 3.11 think i think and six and six and 3.6. 3.6 and three point. thank you. all right. so 3.63.8 through 3.11 is what we are voting on for the consent calendar. >> so so move commissioner beltran second commissioner walker. >> thank you, commissioner. is all those in favor i all opposed? motion passes. all right then we will be now looking at our seven consent calendar items 3.1 through 3.5. i would like to open that up to commissioner discussion and questions. >> great. maybe we could just get an assessment of sure. >> your ongoing but yes and commissioners there is a staff report that is connected to these in the explanatory docs but essentially these are

as needed contracts that we used for ongoing installation for artwork and conservation and storage as well. >> and so this is our these are two of the contractors we tend to use the most for this work or we tend to use a law for this work and so we are bringing forward motions for these contract amounts. there's two different types of contracts just because of the type of work that we do. there are some that are considered public works and there's other things are like storage are not considered a public works. so we have two different types of contracts and they are for ongoing work over the next two years for our projects. thank you mary. so if my understanding is right when we enter into commissions there is usually a is it a 10% conservation that is set aside in the budget and that's what this would fulfill. >> so it's twofold. yes, there's the art enrichment

. we do set aside 10% for ongoing conservation but the installation does come from the actual art portion of the budget that 70%. >> so a lot of our installations are coming under that part of the budget. >> perfect. thank you. thank you for that clarification, mary. all right. >> asking for any other comments or questions from we also didn't do public comment on consent. oh, thank you. on the first consent. yes. thank you. all right. not seeing any other commissioner comments or questions i would like to call for public comment. is there any public comment on item number three the consent calendar? >> if you'd like to make public comment please proceed to the podium and fill out the information card we're currently on item three as a reminder your time will start when you begin speaking you'll see a visual timer and receive a 30 second audible warning before your time concludes. >> is there anyone who would like to make public comment on the current agenda items? >> thank you but there's no

public comment at this time. okay great. thank you. and then i would like to take public comment on our severed item. is there any public comment on this separate item for the consent column? >> if you'd like to make public comment, please proceed to the podium and fill out an information card. we're currently on item three. as a reminder your time will start when you begin speaking you'll see a visual timer and receive a 32nd audible warning before your time concludes. is there anyone who'd like to make public comment on the current agenda items? >> there's no public comment. thank you so much, tara. >> all right then we would like to make a motion for items 3.133. five so move commissioner beltran second commissioner walker thank you commissioners. >> all those in favor say i, i i'll opposed say no motion passes unanimously. thank you, commissioners. all right. we are going to call item number four. we have a discussion and possible action for the 2026 art on market street poster series to approve the

six final designs by adrian arias. please let me know if i mispronounced that for the 2026 art on market street poster series i'd like to introduce program associate paris coats to present. >> hi purse thank you. good afternoon commissioners i'm presenting the final designs by adriana arias for 2026 art on market street poster series. >> this is the first project for the 2026 series and as a reminder the theme was approved at the february vaccine. the theme is entitled now and then living memories and it focuses on previously unrecorded, newly unearthed and unconventional san francisco histories. >> as a little background, adriana is a visual artist, poet, performer, curator, activist and cultural promoter who brings together multidisciplinary artists to engage in community projects with messages of social justice ,racial equality, climate change, peace, beauty, health and hope in the bay area.

>> the intention of this project in his words is to honor the mission neighborhood where memory lives and murals penetrate planetariums and street corners. the forever stamp concept that he utilizes in each poster honors the everyday legacies that shaped the cultural identity of the mission. small and easy to overlook a postage stamp holds immense symbolic weight. it carries messages and affirms worth in this series each forever stamp is enlarged. the frames that surround each image draw inspiration from indigenous design traditions across the americas symbolizing the deep rooted connections that tie these local stories to a larger ancestral map. through his vibrant portraiture and poetic narratives, the posters give visibility to overlooked community members whose contributions have shaped the mission's cultural, social, cultural, social first as rooted emotion the living legacy of aztec dance groups

formed by immigrants and indigenous descendants have shared the ancestral practice of aztec dance and festivals, protests and celebrations such as dia de los muertos and carnaval aztec dance preserves and renews indigenous identities and this poster design honors the dance through vibrant feathers, ceremonial attire and rattles. >> featured here is social who has been practicing aztec dance in the mission for over 20 years. next is sweet roots the daily journey of the ella dero. >> for decades the figure of the ice cream vendor has traced daily paths through the streets offering more than just pellets, resilience and the sweet memories of home. >> featured here is pedro who has walked the streets with his color colorful cart for many years. >> painted on his cart or three ancestral deities who accompany him symbolically on his journey. mama kocher, the incan goddess of water. yaka tek cutely the mexica god

of commerce and protector of travel travelers. and actually the maya god of cacao. the presence links this everyday path to sacred traditions of movement, exchange and survival. next is breathing paper a living story of dia de los muertos in the bay area. this poster honors the arrival and flourishing of papel picado in san francisco an ancestral art form once practiced quietly in family and community gatherings. >> its visibility and vitality grew profoundly in 1981 when armenia albarran romero brought her family's rich tradition from philadelphia to the mission district. >> though similar cut paper practices existed locally, papel picado truly came to life through workshops, exhibitions and hands on teaching especially during dia de los muertos. >> speaking of this is the dia de los muertos living tradition of memory and resistance.

1972 rene inez and ralph maradiaga both artists introduced the first public dia de los muertos celebration at galeria de la rosa. and they're actually featured down here in the bottom left. >> what began as an intimate artistic act became a bridge between mexico's ancestral heritage and the diverse immigrant communities of the bay area. over time contemporary altars joined the traditional ones allowing artists to express themselves through diverse styles while persevering, preserving the essential act of honoring someone whether it's personally or collectively. >> next we have blooming paths the resilient spirit of the flower women. for years the women who sell flowers in the mission have filled the streets with color and life. among them is danae, known as the lady of flowers featured here. many of these women come from countries across central and south america. their knowledge of the flowers that they sell encompasses

special uses such as what flowers are placed on altars which ones are used for healing and which accompany celebration or mourning. >> they connect ancestral wisdom with our daily lives and finally rolling memory the art and legacy of lowriders in the bay area. in the top stamp you'll see the mission cultural center standing proudly along with the historic mural by carlos ortega, betsy miller, cruz and manuel villamor. in the lower stamp you see the iconic new mission theater appears as witness to decades of this cultural evolution when police tried to suppress la writing, the community fought back. and leading that movement was roberto hernandez, founder of the san francisco lowrider council whose story is now part of the mission's living history . >> and as you'll see, each poster had a qr code that links to its own web page. so here's an example of what one of those websites looks like. it takes you to adrian's website where you set up

individual pages for each poster. there's a longer description featured here in english as well as spanish and then links to articles, interviews, videos and additional photographs related to that topic. >> and lastly here is the schedule for the 2026 series as a reminder. so thank you. happy to answer any questions. >> thank you so much. paris. and i feel like it it bears repeating because i know this comes up whenever we look at this project. what an amazing project it is. so happy that you know this is your first iteration and really getting to see how you're curating it. and you know how craig has done for years. this is such a special project and how it tells the story of san francisco tells the story of like our communities, our cultures and this specifically also through the eyes of our artists. and it just again i'm getting those goosebumps when i think

about some of the amazing work that a cfc can do this collaboration with muni and having these pieces of art on bus stops where people thousands of people will see it every single day and have a better understanding of our city and our culture not just the arts culture but the cultures that make our city so rich and unique. so thank you for doing this work. >> it's really exciting to see the next iteration. and congratulations on your first project with with the poster series. >> thanks. looking forward to you know, two more want to open that up also to commissioner comments and questions. >> yes please. commissioner walker here. thank you for this thing. >> roberto and rene who i've i've known both of them for decades in the mission and it's such an honor because it's you know, we'll be hearing about it as it's displayed on market street. it touches so many people's

lives that are in that neighborhood and all through there. >> so it just it means so much. it really does too. i mean everybody living in the city who walks by and they mention those things so thank you for this really great mission. beltran paris phenomenal job really, really great. >> thanks. >> thank you. commissioners. yes, please. yeah. thank you for showing us the posters. >> i also love the colors. i love how it really reflects the rich culture of the latino latin community here san francisco. >> and for it to be showcase on market street where a lot of tourists come and they might not necessarily go all the way to the mission. i think it's just really a great opportunity to showcase our our diversity here. san francisco. >> so thank you. totally. thank you. thank you. commissioners. any other commissioner comments? any questions? >> thank you, paris.

all right then i would like to call for public comment on item for the 2026 art on market street posters. >> if you'd like to make public comment please proceed to the podium and fill an information card. we're currently speaking on item four. as a reminder your time will start when you begin speaking and you'll see a visual timer and receive a 32nd audible warning before your time concludes. >> is there anyone who like to make public comment on the current agenda item? >> there's no public comment. >> thanks. i'd like to ask for a motion so move commissioner beltran and a second. commissioner quinn second. thank you commissioners. >> all those in favor say i. i all opposed say no motion passes unanimously. >> thank you, paris. thank you, commissioners calling item five the san francisco main library temporary atrium mural. we have a discussion presentation of the as installed and completed artwork titled attempt to hay 2025 by ballot less for the san

francisco main library temporary atrium atrium mural project the temporary artwork developed in collaboration with the association of the roommates shallowness is composed of high quality printed vinyl measures approximately 500ft2 and will not become a part of the civic art collection. like to introduce program i'm sorry project manager craig capoeira to introduce hi craig . >> nice to see you. thank you. good afternoon commissioners. i'm presenting the completed artwork titled attempt to hey by a is this that was created in partnership with jonathan cordero for the san francisco main library atrium mural project as a reminder the library provided public art with funds to commission an artwork for this project. the goals of the project included the artist would emphasize the importance of sharing of knowledge and wisdom in all forms across generations

. from an indigenous perspective artists would have a meaningful connection to and or direct experience collaborating with indigenous communities in the development and implementation of their project artwork design and the artist would partner directly with the association of the raw material only on the development and implementation of the artwork concept and final design. so blaine was approved as the product artist at the april 16th vc meeting and her conceptual design was then approved in july. following that belong created a scale painting which was approved as the final design at the september vc meeting and the painting was then photographed and turned into a digital print file. then the final or 4x4 foot size scale color proof for our approval giving us two options of finishes.

we selected the matte finish on october 12th. the scaffolding installers arrived shortly after the library closed and monday morning october 13th the mural installation began. >> there were ten total vinyl panels taking about eight hours to install and you could see on the far right this is the last panel being installed and so here's the installed work attempt to here illustrates how knowledge and wisdom are shared across generations from a primarily indigenous perspective set within a natural landscape. the composition includes flora and fauna native to the region includes california poppies, coastal live oaks mission blue butterflies, deer and songbirds. all together the elements evoke an intimate interdependence among all beings in the natural

world including humans in this landscape children learn by listening, exploring, dancing and connecting as guided by family, community and the natural world. >> and then on tuesday, october 14th we had a little informal unveiling and this is the artist began with jonathan cordero. i would like to acknowledge senior program manager jacqui von tresco who actually did all the heavy lifting most of the heavy lifting for this project and yeah this is the work as installed. >> awesome. thank you craig thank you jacki. this piece is so beautiful and what an amazing space for it to be in. it's in the entry as you walk into the library it's the walkway up to the children's room and the story it tells is just perfect. i know that we had talked about if there's any opportunity for it to extend and or set a precedent where we can activate this wall, i think it's it's such a benefit to the space. it's so beautiful opening it up

to commissioner comments and questions commissioner beltran, craig and jackie just phenomenal. it looks amazing and i you know can't even tell at least from this distance that it's it's on vinyl print that was beautifully done. >> who's our supplier on that give us thank you local local company great job thank you so much for showing us the artwork. >> actually i personally don't even know any other artwork representation of the colony natives in and in san francisco so i'm so happy to see that there's going to be at the library. >> it was going to be more i hope seen by a lot of people in the public and as we were talking about was the the land acknowledgment earlier today i was saying it it'll be great to have a mural right there so we can kind of reflect on the colony community as we're doing the land acknowledgments. i'm so happy to see this. >> so thank you. thank you commissioner quinn i

just wanted to say i've been in and have seen this and it's really stunning and it wasn't here on the commission between kind of the concept and phase two but the brightening and the look of that sunlight in particular on the upper left is just pretty magical in that space. >> yeah. thank you. >> thank you commissioner mosler it's too bad it's not permanent. >> yeah. yeah. and you know and i know that there's potentially area for discussion and collaboration with the library if it can be extended it does look like it should be sturdier than it's supposed to be up for. >> is it a year? two years? two years. okay. and is that even a possibility? is that bad and conversation. >> sure. yeah. yes. yes. >> we are in conversation with the right. all right. any other commissioner comments questions seeing none. thank you so much, greg and always nice to see you.

is there any public comment on item five the san francisco main library temporary atrium mural if you'd like to make public comment please proceed to the podium and fill out an information card. we're currently on item five as a reminder your time will start when you begin speaking you will see a visual timer and receive a 32nd audible warning before your time concludes. is there anyone who like to make public comment on the current agenda items? >> there is no public comment at this time. thank staff all right then we will call item six the chinatown him mark lie branch library renovation project. >> we have a discussion and possible action to approve christine wang yap be john liang and wendy chen as finalists for the chinatown him mark lie branch library public art project as recommended by the artist review panel like to introduce or reintroduce project manager craig kapoor to present again craig hope hello again i am presenting the recommended finalist for the

chinatown himalaya branch library art public art project . >> the library is located on powell street between washington and jackson three and a half blocks northwest of portsmouth square, two blocks south of chinatown health center and a block and a half north west of chinatown grows park station just a brief history built in 1921 by architects g. albert landsberg. the library was originally named the north beach branch and was one of several carnegie libraries in san francisco is one of several carnegie libraries in san francisco which also include mission branch library, newby valley and presidio to name a few. the the name was changed in 1958 to better represent the the community it served in 2002 the library was designated as a san francisco glenmark and in

2011 renamed chinatown highmark library each after the american historian who significantly advanced the study of chinese american history in 1991 the library was seismically retrofitted and expanded to twice its original size. here you can see an example of the current conditions with the exposed steel truss work site and with construction slated to begin in early 2026. the renovation will transform the space into an energy efficient, safe and resilient neighborhood library while maintaining the building's inherent charm. so the public art opportunity for this renovation will be a wall mounted two dimensional artwork and integrated into the five arched niches located along the west wall of the library's historic reading room

. each niche measures approximately nine feet tall, four inches nine feet, four inches tall by six feet, six inches wide, totally approximately 300ft2. the artwork budget for this project is $160,000. the goals of this work is to provide an uplifting and inspiring atmosphere for the library users and staff create creatively use the existing architectural features of the space be an expression of the chinatown neighborhood culture history, identity and values and provide a community benefit which includes providing opportunities for artists with meaningful connection to chinatown. and just to note that there is an existing commissioned artwork in this civic art collection already in the chinatown library this renee young work titled take root which was installed in 1996. it's a community based project

that collected bilingual poems about the library that are etched into these copper panels . and this is going to be reintegrated into the the renovation of the library. so just the project timeline to date the project plan was approved at the february 14th, 2020 4vc meeting and 42 pre-qualified artists were reviewed and scored in september of 2025 and bringing us to the 18 semifinalists artists were discussed and scored by the artist review panel on monday. this monday and the recommended finalists are wendy chen is a san francisco based artist who makes sculpture and set specific installations that elevate the vernacular forms of knots to inspire are

in understanding at the intersection of function mathematics and history where knots reside. she introduces esthetics to illuminate what's most fascinating about them. the journey of the line wendy has created works for he ceramics in san francisco. denver international airports s.f. moma and the museum. >> next we have visual liang is an interactive media and installation artist from chinatown san francisco through humor crowds crowdsourcing and virtual simulations, bejan tells us the every tells the everyday to showcase voices of those often forgotten. she has exhibited her work at the chinese cultural center yerba buena center for the arts, asian art museum and various other chinatown festivals. and finally christine volpe, christine wong yap is a visual

artist and social practitioner who works in community engagement drawing printmaking, publishing in textiles and public art through her hyper local participatory research projects she gathers and amplifies grassroot perspectives on belonging, resilience, mental well-being. christine has developed projects with the chinese cultural center for freedoms, the library foundation of los angeles, the other othering and belonging institute at uc berkeley in times square arts to name a few. and then our next steps after approval here we will try to schedule the artist orientation early in 2026 artists will develop their proposals in the early part of the year. we'll have a two week period of public display of the proposals soliciting public comment from the community and then

hopefully have the artists approved in april. thank you. >> great. thank you craig. >> how exciting. i do have one question those niches where the art will be going what was there historically? were there murals there? >> were they blank? i think those were originally windows. they were windows for the extension of the library was yeah and it's part of the the new construction that is covering them. have they been covered? i think they're currently covered. okay. yeah. okay. thank you. berkeley commissioner questions, comments seeing none here here too. can't wait. thank you. all right then. thank you craig calling public comment on item number six the chinatown phone him mark lie branch library renovation project. >> if you'd like to make a public comment please proceed to the podium and fill out information card. we're currently in item six. as a reminder your time will

start when you begin speaking you'll see a visual timer and receive a 32nd audible warning before your time concludes. is there anyone who like to make public comment on the agenda items? >> there's no public comment at this time. thanks tara. >> all right then i'd like to ask for a motion so move commissioner belcher second musleh thank you commissioners. all those in favor say i, i all opposed say no. the motion passes unanimously. >> thank you, commissioners. thank you. craig calling item seven we have the mission branch library project with a discussion and possible action to approve the final design and construction documents motion of no paul de la mission while integration integrated artwork by juana alicia eraser for the mission branch library public art project located on 24th and bartlett street in the mission district like to introduce project manager ariana davidian and to present

the item all right. good afternoon commissioners. we are really celebrating libraries today so great. so the mission branch of san francisco's public library network is located on 24th street and bartlett in the heart of the mission district the mission library renovation project aims to transform the historic 1916 carnegie library into an energy efficient, safe and resilient neighborhood library something you've already heard today. the project includes restoring a community meeting space returning the primary building entrance to its original location on 24th street and improving facilities for children and teens. the main reading room on the second floor is surrounded by high art windows that sit above the bookshelves to bring light into the space due to a

previous remodeling in the 90s the art window in front of the main stairway was involved to accommodate the addition of staff rooms built behind it. this infill window is aligned with the sight line as one comes up the stairs from street level the infill window sections are framed by historic wood millions and a clock that will remain intact through the renovation in 2020. the art opportunity location was identified as a wall integrated glass artwork that fills the space, that fills the spaces within the window frame and millions. this space is approximately 120ft2. >> the goals of the public art project are that the artwork shall be a community asset and reflect the identity of the mission neighborhood. the artwork shall be appropriate to the mission branch library as the project site and library environment and the artwork shall serve as a wayfinder to help users locate the main staircase of the library.

>> the total and art enrichment for this project is 200,000 of that budget 40,000 was allocated for administration 20,000 for conservation leaving 140,000 for art 23,500 was allocated for artist selection and internal art costs. 45,000 has been reserved for reframing existing montoya artworks which i'll mention in a moment and that leaves 71,500 for the artist contract which includes design fabrication and transportation of a glass artwork installation of a glass artwork installation will be provided by san francisco public works so here is one of alicia's 2021 approved conceptual proposal no paul de la mission and i just want to reintroduce her in case

anyone doesn't know her already juana alicia has been creating murals and working as a printmaker sculptor, illustrator and studio painter for over 30 years. her style akin to the genres of contemporary latin american literary literary movements can be characterized as magical and social realism and her work addresses issues of social justice, gender equality, environmental crises and the power of resistance and revolution, she says about this proposal my vision is that of a monumental or prickly pear cactus full of flowers and fruit. the powerful cactus tree has many meanings for people all over the world but particularly for those of mexican heritage. the new powell is a central element in our origin story. according to legend, the gods had predicted the founding of tenochtitlan and mexico city as

the site where the itinerant nawa aztec people spotted an eagle holding a serpent in its beak atop and nopal cactus at the base of the design are the symbols for the goddess marlene knowledge show sheetal from now what part in my pronunciation from nahuatl malani grass and show cheadle flower who was responsible for the apparition of the founding moment the snake is the image of the feathered serpent or keats it's a kodo kita coa told the diety representing wisdom and knowledge for the mexican people but the significance of the plant goes beyond this story. it is a symbol of resistance under difficult conditions a tree that blooms in the desert serves as a delicious and nutritious sustenance and regenerates easily the style of the watercolor and the inclusion of the nawa symbols

refer to the style of the traditional books of aztec and mayan people the style of the codex in the mural design i pay homage to the tuna the aleisha variety of the nopal which is a beautiful violet color. it will bring the vibrant life of the natural world to the library environment offering its yellow flowers with red star shaped centers to the creative intellects and community oriented space of the reading room the organic forms will complement the beaux arts architecture and provide a visual respite from the hard edged urban environment. >> so the artist's original watercolor painting that she made for this proposal was also purchased and accessioned into the civic art collection. it was included in the 2023 sfe gallery exhibition mayor mancha . the monumental art of juana alicia and the watercolor will

find its permanent home in the library's new addition to room which is adjacent to the main reading room on the second floor and you can see the display location in the rendering top left on the wall just above the built in bookcase. sfe staff are also undergoing an artwork conservation project led by civic art collection project manager grace weiss three lithograph prints by renowned bay area artist emmanuel catarina montoya were commissioned for the library in 1997 and will be restored and relocated in the building's new community room on the lower level. these artworks are entitled egypt's contribution to european civilization keats a whole diary of knowledge and culture and wenchang chinese diety of literature grace will share more about these extraordinary artworks once installed once installation complete in 2026.

so i'd like to take a moment to share some behind the scenes from one alicia's design development phase. this candid photo pretty much sums up the process. we have representatives from sj amoroso construction and they're glazing sub us glass andrew sun, architect and project lead at san francisco public works and john pollione architectural associate at s.f. public works one two alicia the artist and kimberly jackman founder of jackman glass works who is fabricating the artwork so the arched window opening has shifted and morphed asymmetrically in this grand building for over a century and so it has taken extraordinaire three court coordination to determine accurate dimensions for the art glass panels the general contractor provided the artist team with plywood templates that were checked and double checked several times over to capture all the nuance dimensions of each window

section. the artist team then adjusted the artwork design to fit the field verified dimensions reworking the composition to fit appropriately and then returning to the site to mark up the revised design on the wall with full scale full color prints. >> the amazing artist team seen here includes tallulah terrell left master printer master printer and studio manager for magnolia editions one alicia the artist in the middle and fabricator kimberly jackman of jackman glassworks the artist design underwent several revisions through a highly collaborative process including physical and digital improvements to color saturation, shadow and fine tuning the placement of image components within the as built dimensions of the window sections. so on the left you have the 2021 approved proposal design and on the right is the final design. seeking your approval today

here is the window jammed detail articulating the various layers of handcrafted art glass and large tempered glass to protect the art glass from touching any part of the window frame and a cushioned glazing pocket and finished with a three quarter inch wood trim. >> if that's not obvious by looking at this and this past september we coordinated closely with public works with the team at public works to produce a mock up frame to fit a 19 inch glass sample. the purpose of this mock up was to test how the delicate artwork would fit into the window pocket with minimal risk of damage. >> in october we did another mock up test with two lighting fixture options one of which is cooler and the other which is slightly warmer. >> you can see the range here on the top row. we're still delivering between the two fixtures but it will

certainly be on the cooler side of the temperature spectrum which you can see starting top left. and just last week we did yet another lighting mockup in the glass studio to test a layer of light diffusion acrylic which i'll pass around a sample here seen in the lower images on this slide. our goal here was to find a balance between softening the shadow of the window frame behind the art glass while still allowing enough light to come through and illuminate the artwork. san francisco public works will install and manage the artwork lighting in consultation with a lighting consultant. the artists and s.f. ac the lighting product is called magic cloud a seamless grid of lcd panels that will be installed by the general contractor behind the art glass in the utility room behind the window. these panels can be custom

programed to change throughout the day and modified according to seasonal sunlight patterns. for example, the light can be dimmed at night once the sun sets to mimic the light quality coming in through the other windows in the reading room. >> we will likely establish a simple program to minimize error and maintenance by san francisco public works. nonetheless, i think it's pretty fascinating how custom this product can get. >> and lastly i have a final set of glass colored chips provided by jackman glassworks . in this slide i'm showing the progression of glass samples from the original 21 2021 proposal sample at the top left some reworking and layering over the past couple of years which is the second from the top image and the final sample shown in the bottom to left. on the right is one to alicia examining the 19 by 19 inch glass sample in process.

so let me just take a moment to pass around these glass colored chips and lastly look at the remaining timeline for the project. >> seeking your approval today full commission approval on december 1st. fabrication will begin immediately and run through the late spring 2026 when we are anticipating public works will install it and supposedly the library is opening summer 2026. and happy to answer any questions. >> thank you so much, ari. this work is stunning. i am so excited to see it installed. it's been it's been in process for a while. but i mean even the mockup is

stunning and it's really exciting to see how this is going to come together and backlit. and i agree that that backlit backlighting option is really exciting and how they can change the intensity of the light. >> actually i'm going to turn it over. i didn't have a question but i have a feeling the other commissioners may have some of the same questions so opening it up to commissioner comments and questions and last thing thank you. thank you for bringing samples. we love to see the materials before they're made. thank you. commissioner beltran here. thank you so much. ari, this is just phenomenal. so beautiful and exciting to see it actually be able to glow even though that window has been closed. my question has to do with as alison remembers many, many years ago and we learned from this in 1985 we had a lighting one of our earliest lighting pieces along the embarcadero by vito conti where we did not consider how to replace some of the lights in an easy way that

you know because they're going to essentially have a lifetime and so how do you know how that that is going to be orchestrated if any of those panels have to be replaced or repaired? so the difference between this project and the one that you mentioned is that the lighting scope is is not essentially part of the artwork scope so it will be maintained by public works and so we have yet to write out the maintenance plan but i will coordinate closely with public works and as fpl facilities to identify you know regular i don't know if that's monthly checks or things to look out for to kind of indicate that the lighting is is operating regularly you know who to contact at public works if something needs attention. so we will kind of provide we will co-produce a maintenance plan together that will be circulated to people on the ground.

>> thank you. it's not so much the main maintenance but in terms of the ease of replacement if those panels should break because that was you know, the main issue with that piece in 1985. >> well luckily you don't need scaffolding to replace the lighting panels. they're actually you can access them just in the room behind the main reading room. you don't have to even touch the art glass like you can leave it as it is. >> there's no risk of damaging the artwork you know the art glass if you have to replace the panels they're going to be, you know, eight plus inches back separate access so glass and front lighting in back. >> terrific. thank you so so this is sort of printed like they used to print before digital, correct? it's like you had to choose each color and each color printed and they do that on the glass and then they melt it together that the process yeah

it's it's actually a combination of of kind of traditional glass making and digital glass making interesting so there's let's see if i can describe all the layers. the bottom layer is tempered carrier glass just clear and that's that's like your canvas. yeah it's not it's not shown there but that's just like your canvas it it's oversize so it's larger than the hand layered glass so it kind of protects it around the edges that then there is an eighth inch additional piece of tempered glass in the middle that kind of seals the art glass and the protective glass together as one. then you have all the custom and laid glass which is essentially what you're describing kind of pigment handle pigmented and cooked glass layers and the artist and her fabricator have worked

very closely over the last four years to come up with a kind of vocabulary of textures and colors and and qualities of you know, different amounts of light coming through at different areas. >> so it's amazing. do we have that sample the final sample in our office because i want to see the actual sample it is it is currently in the fabrication studio. >> okay. this is essentially the final sample. >> i did not feel comfortable handling it to bring it in here. it's quite heavy. >> oh yeah. but how big is it? it's 19 by 19. oh but it's it's screwed into this mock up box so the whole thing is quite large but i could probably arrange an encounter one. >> no you're not. it would be fun to see it. i mean obviously i'll see it when it's up but it's such a

beautiful process and i'm sure the artist loves doing it too. is this the first time? yeah that's what again i always emphasize this that it's so wonderful that these projects the staff works with the artists to teach them new medium and make them able to do these large scale you know in other mediums. so this is exciting. so this is great. >> thank you very much. commissioner wilson yes, please. do you think some of the answers so you answered already some questions of i'm curious use the process of this because it looks amazing and so you saying each panel that's going to be is is painted so each of these sections is essentially layers of printed glass clear glass and hand laid glass. it's a yeah it's kind of spit

out on the glass a glaze type situation but they used to do when you used to do for color printing you'd separate it out into each right and then you put together color printing you'd use pgms colors and stead of a digital file and so that's the way they still lay this out and then melt it together. it's really quite a process. yeah, it's it's a little hard to tell in this image but what i've observed of the process is some of the kind of base image layer the fabricator hand cuts, the different shapes there painted with a special kind of glass color pigment that's cooked and then the fabricator goes back and adds different layers which could be other cut pieces as it could be shards mixed with pigment.

it's for texture. it's really tactile. >> it's a very tactile process. i mean yeah, this is the combining old school and new school and it opens up a lot of doors for indoor spaces because now that we have the lighting technology that makes it even and consistent yeah it's amazing. looking forward to it. commissioner perez, thank you so much for bringing this. >> i'm just so intrigued. is there a name for this type of process or is this not stained glass? >> right. it's like beyond stained glass. i, i don't know if there's an it's really hybrid. >> yeah. >> okay. but it's like a foreclosure process on glass but it's not hand-painted, right? it's like a scan of a digital artwork. it's separated into these colors so right i do even like a screen or anything it's yeah it colors thing. >> yeah. and glass really kind of gives it that really vibrant color and i'm just so impressed by the disney magic with the

lighting that you can simulate the the the daylight outside to match the color i saw thank you so much i so it's so exciting to see i can't wait to see it in person commissioner oh yes please went one last question i think this may have been in one of your slides. i'm sorry i forget the number but how much distance are you giving between yeah. how much how much time did you estimate this would be up and buildings settling like i'm curious how you made the mathematic decision between the space where the glasses and where you expect the building to shift over the next few decades? >> well, that's a good question. we we are designing it so that assume thing assuming that the building won't shift significant lead but we're essentially you know in in talking with the glaeser who's going to install the artwork we're giving it a really healthy space between what's

called the what's it called like the tight fit to the very edge of the window frame. >> there's going to be a cushion that you can change the kind of height, the thickness of it depending on how much space we need to kind of fit the glass in and then there's going to be a half inch kind of buffer between the protective carrier glass and where the actual art glass the more fragile glass starts. so you know we've had dpw use engineers look at this a whole room of specialists just to make sure that you know, worst case scenario if there was an earthquake and things shifted a little bit that our glass is not going to touch anything ever forever that's our goal. >> perfect. it's beautiful at least first of all, the more i hear about it the more i'm reminded by how brilliant you all are in terms

of the arts commission actually has this reputation for reading with the structure of making a new public artwork, new processes and techniques for realizing what the artist is trying to do. the first one of the earliest examples was when alison i think on susan were on that team as well. we're doing all the artworks for us of general and i loved that though the brief was put something on the wall that will withstand bleach and blood and you know basically all of all of this terrible abuse as people are wheeled down the hallways and alison and susan and i don't know mary, if you were involved actually came up with this new printing process to integrate the actual sort of color and prints into metal and it's now kind of like a

standard and i'm just so proud about that. and in fact i suggested to susan in the time we should make a book because you guys actually invent these new processes and here you've done it again. so congratulations. >> thank you. thank you, commissioners. thank you so much. ari. and yes, some of the questions i did have i knew my other fellow commissioners would be asking is what is the process of of how this is made and i can see some of the confusion because of that hybrids hybridization one of the things i was checking also with these pieces some of them have more of a uniform color. some of them have less uniform in terms of the saturation of color, i'm not sure if that is part of like that water color effect if that's okay, great. if that's the case and that works beautifully. but i do agree with commissioner walker. >> i would love to see and even if it's at the sfa sea offices and maybe you guys give us the opportunity to come see so you don't have to lug it over to city hall if that safer but i

would love to see how what you're describing actually came together. it's hard like i'm trying to imagine from these colors how that would work and maybe seeing the actual thing would help answer a lot of those questions. but these are beautiful and yeah, i'm really really excited to see how that's going to translate into the final piece. and then one other thing i did notice just off hand when looking at the proposed design to compare to the final design there is it looks like some of that watercolor texture is really retained especially within the the cacti and the flowers. >> but the background you can noticeably see that difference it's much more just flat color well with the ombré but still flat color not that variation in terms of the water color is that intentional and in terms of the artist she wanted to smooth okay. yeah that was a creative decision that the artist made when she realized that the dimensions needed to be

adjusted. but you can see in the kind of bottom left narrow panel to to to be able to achieve that kind of smooth gradation the background is actually going to be broken up into these kind of arabesque curves. so so those curves you see on the left are actually cut glass and within each of those shapes it's going to be a solid color her but as you aggregate them you'll get that gradient effect oh wow that's so exciting. yeah and yes, props to you and the staff for dreaming up amazing ways to install more public art. thank you. any other comments or questions from commissioners seeing none. >> thank you so much, ari. what a beautiful piece. so excited and thank you to what alicia for for doing this too i would like to call for public comment on item seven

the mission branch library project if you'd like to make a public comment please proceed to the podium and fill out an information card. we're currently on item seven as a reminder your time will start when you begin speaking you'll see a visual visual timer and receive a 32nd audible warning before your time concludes. is there anyone who would like to make public comment on the current agenda item? >> there's no public comment at this time. >> thank tara. all right then i would like to ask for a motion so move commissioner beltran second commissioner walker thank you commissioners and all those in favor say i, i all oppose any motion passes unanimously. thank you, commissioners. thank you, ari calling item eight we have the san francisco international airport. harvey milk terminal one underpass lighting project. we have a discussion and possible action to approve an increase of light bright neon studio llc contract from 1,000,600 and $30,907 to

$1,758,588 an increase of $127,681 to include revised scope for fabrication transportation and consultation during installation of an artwork by andre a bowers dba radical patients inc or the san francisco international airport harvey milk terminal one underpass lighting project like to introduce program project manager marcus davies to present hey marcus thank you good to see everybody. >> good afternoon commissioners i unfortunately do not have a library to present today but i need to present something equally as exciting and as commissioner first mentioned i am seeking an approval of an increase to light bright neon studios contract for fabrication, transportation and consultation during installation of andrea bowers artwork. we've got to give them hope for the san francisco international airport. harvey milk terminal one

underpass lighting project and just to offer a brief recap of the terminal one project, sfo is currently moving through final completion of the terminal replacement project and from the outset the arts commission has worked closely with sfo as project management and design team and the airport museums to ensure a successful integration of public art throughout the entire new terminal in early planning the project team identified the arrivals level underpass which is where passengers exit baggage claim to outdoor sidewalk and vehicle transportation. they identified that as the site for a large scale lighting project. the goals of the artwork for this location were for it to act as an iconic landmark. and first, welcome to passengers while honoring the legacy of the terminals namesake harvey milk receiving conceptual design approval from the visual arts committee in 2019 and design approval in 2021. andrea bowers artwork we've got to give them hope draws

esthetic inspiration from the historic castro theater marquee and serves as a tribute to harvey milk's pursuit of equality, justice and hope. taking the commission as an opportunity to deeply study the life and work of harvey milk, andrea's artwork for sfo sites and amplifies milk's messages of equality and acceptance. the tone of the artwork reflects the celebratory nature of milk's community building and reveals an ongoing relevance reveals the ongoing relevance of his voice to current and future generations. it honors the legacy of lgbtq activism in san francisco throughout through iconography of its community scaled to create an immersive and inclusive experience incorporating disco, spotlights and thousands of linear feet of neon. the work is punctuated by quotes from milk's speeches writ large as banners of hope, freedom and acceptance for everyone. in further reference to the castro theater, the neon will be housed in brightly painted aluminum casings containing wiring and hardware utilizing a practical design that draws on the handcrafted ingenuity of

neon's golden age in the bay area andrew is selected fabricator for the project is light bright neon studio a small new york based company specialized in custom neon projects. >> this is a number of their previous collaborations with artists here on this slide owned and operated by predominantly lgbtq artisans. light bright is one of the preeminent neon designers and fabricators for artists in the country including andrea bowers who has a longstanding relationship with them and has extensive experience with large scale commercial and artistic public works. >> since entering into a contract with the arts commission for design in november 2021, light brite has been an essential partner in developing the artwork adhering to the artist's intent while ensuring feasibility through complex structural engineering and fabrication mockups. they've been consistently creative during the coordination of the artworks complex electrical infrastructure and it produced detailed construction documents

and shop drawings allowing for confident production of the artworks. many components following commission approval of the final artwork design in may 2020 to a value engineering and comparative costing exercise by the arts commission was initiated to mitigate unanticipated cost unanticipated cost increase increases due to continued design and engineering coordination accommodating airport infrastructure complex ul certification, its electrical certification and sfo permitting requirements as well as the escalation of material and labor costs resulting from pandemic inflation and pressures from the war on excuse me from the wars on in in ukraine where many materials used in neon production originate. and i just want to point out the slide just shows the entire sweep of the artwork across the terminal so you can kind of get a sense of the scale of it. punctuating the work are nine of these central marquees starting in the middle at the center doors and working out

from there. >> the outcome of this process the outcome of this value engineering process resulted in a 23% cost reduction through minor revisions to the artwork design approved by the visual arts committee in 2023 allowing light bright to develop a full scope and budget for the fabrication transportation and consultation during installation of the artwork in november 2023 the arts commission approved a contract increase for light bright in the amount of $1,486,043 increasing their total contract amount from $144,864 for design only services to 1,630,907 for the full production and delivery scope at this time the arts commission issued notice to commence fabrication with an anticipated completion date of october 2026. >> since that time light bright has worked effectively to stay ahead of schedule with frequent production updates

and documentation. light bright we reached 50% fabrication in april of 2025 and 75% in september and these are some images of the completed artwork. in these photos you can see the completion of the nine marquees that i mentioned featuring quotes by harvey milk in addition to many of the repeating design elements which are being prepared as we speak for final in-person inspection by arts commission staff in early 2026 as we near fabrication completion i'm seeking a final contract increase today to address both unanticipated and strategic change orders required in the final phases of the project. these really fall into four categories that i've outlined in this slide. the first being time sensitive requests from sfo which include structural design revisions, auto cad files for the project archive consolidated power routing for sfo electrical contractor and an in-person review of the installed

electrical infrastructure which we completed in october. >> the result of origin the second category is the result of originally specified the rigidly specified disco rotor units that turned the disco becoming unavailable unavailable. unfortunately the manufacturer went out of business. no attic stock was available so this change order category included extensive research of an alternative rotor product by lite-brite as well as the purchase and shipping of new rotors at higher cost. unfortunately and then in-house modifications to make them suitable to the specific application at sfo. >> the third category the change orders is addressing future conservation needs very important. this will be through the purchase of a conservation package which includes artwork parts templates, spare glass tubing and spare transformers as well as all the hardware necessary for installing the piece or reinstalling the piece. >> and finally the last category is providing efficiencies on the production end to reduce the reduce

and offset what will be extensive night work during the installation of the artwork. and these include the pre assembly of electrical connections for direct and easy tie in and the field separate packaging of all of the neon lettering that you saw on the central marquees which would need to be removed in the field for the installation of those marquees and put back so we'll be creating them and sending them separately. and finally a two day in-person installation training for the installation contractor. >> so let's see sorry to this end here's an overview of the next steps upon your approval of the contract increase today i aim to certify the contract next month in preparation for a 100% fabrication inspection in january at light bright shop in kingston, new york. following inspection approval by staff we anticipate shipping

from kingston to atl fine arts services in oakland in spring with a nighttime installation at sfo taking place before peak passenger travel in summer. and commission approval of the artwork as installed anticipated for august of 2026. so things are moving quickly. this concludes my presentation and with that i am happy to answer any questions. >> thank you so much marcus. >> oh it's so beautiful. how many disco we end up with? >> i think we have 20 on the disco. so you can kind of see we got a lot of disco. ask me anything about disco. i know more than i did before. you can kind of see there in this in this rendering this is an early concept for running but you can see the effect of the disco in their dedicated spotlights just really amplifying the overall effect an impact of the piece that'll be exciting the minute you step out of those doors. right. and thank you for this very thorough report on why the costs are going up. i know as things stretch out and fabricate costs do increase sometimes that affects the the

work well worth it. >> i am so excited for this piece talking about a showcase piece for san francisco and welcoming people as they come in. i mean this is another goosebump piece when you think of how we are representing san francisco and harvey milk especially in a the political climate that we're in right now it's very important and it's so ,so excited. opening it up to other commissioners please. >> question commissioner mosley, thank you. you're welcome. i thought you going to drop two disco. glad you didn't miss goebbels is still here. >> it was ready for flight. we've invested so much in those disco. >> i'm just i'm just wondering for example, the conservation package like why was not the thought of in advance it was thought of it was discussed more in depth as the result of a full all hands walk through in october that review that i mentioned of the electrical infrastructure we also use that as an opportunity for a break away meeting to talk about long

term care of the piece really all of us i mean that meeting we had probably 20 attendees from the airport, airport museums arts commission and gave us an opportunity to really talk in depth about conservation needs what this package might look like and include. so i'm bringing it to you as a kind of fully formed notion here as well as something that's priced out well, the other question is is there going to be a local neon company that will be sort of a future partner? and because i know one thing about neon there's always something. yes, we actually have spoken with jim rizzo of maybe staff can help me what is this company's name jim i know jim from across the bay. >> it's on the tip of my tongue . >> yeah. anyway, we what is it he's calling on anyway? jim jim rizzo is the neon community. it turns out it's one might guess is very small here in the

in the united states and light bright and jim are have worked together in the past and that was a light light brian's first recommendation so we do have somebody locally who was aware of the project could be available available for consultation repairs replacement of parts again going back to that conservation package we will have addicks stock as a result. >> he's thinking about retiring too so just make sure that hopefully there are some apprentices on the on the up that would be well trained. >> i'm just saying this because this is an incredibly like this is going to put services i would say any airport on the map yeah even even though we already on the map for incredible artwork this is like a show stopper at a show. >> so i think it will be you know i don't revenue collection yeah yeah and i think going to be incredible just i just i just want to make sure i know you're already thinking about it. yeah it is a very niche business these days. it is so amazing. i can't wait to i mean we need

to throw i hope we can throw party at the disco of there waiting for we'll be there waiting for the party to arrive so yes we'll keep everyone posted of course commissioner beltran, congratulations. i was so fortunate in 2019 to actually be on the selection panel for this right. and i was like surprised when i saw i was like they're still working on this. so yeah, you're seven but understandably because you know it is complicated and it looks like it's going along phenomenally. >> i was very sad to hear that the provider of disco ball rotors is going out of business and but we were able to get a substitute as you said and this also reminds me of the maintenance of the joseph smith piece which by the way looks fantastic like because i understand that was just recently fixed now and it's all bright and shiny and functional and yeah, we realized learning

from that piece you know how much we really need to to look after the maintenance of of neon to make sure that we're not losing the youthful effect of the piece. so great job in doing that with all 20 of those people in the room. >> yeah. congratulations. all right. oh, one other thing is it's perfect in that i guess in february or march or so the castro theater is also going to be opening. >> yeah. so it's wonderful to be able to celebrate that this in the summer can you know hearken back to the actual now functioning reopened castro theater. >> i thought about that that was my family theater when i was a kid and so the alignment here is very exciting. >> so sorry i have a commission was just one more thing. sorry. you know this is going to be publicized i would say a lot probably like every tv channel is going to be there and what i'm curious about you know, hopefully we could make sure that the our commission you know and what you guys have

done is that this part of the language that's going to be you know, the press releases and everything with the airport so we're you know, getting the the right credit for this amazing work and to get more of the public to know about what kind of when they ask questions here's a bright neon sign yeah that will answer it yeah discussion commissioner walker here can can we have the slide that has the map of the layout? >> oh, the plan brochure there. >> yeah. so this i mean this is just showing everyone how extensive this is as it goes all the way through that hole as you're leaving or coming on to the plane and you know our community is so really i mean it's such an honor of our entire community to all of the harvey milk terminal and all of

the art currently in it. but this one is really going to like everybody said, really emphasize this that at a time when you know we have we have the the castro theater opening and there's you know there's some tension in the community about it. but this is a real way to to remind everybody that there's a lot to be proud of in this in our neighborhood, in the castro and in our history here . so it's i can't wait to see this up. and i you know, i think it's it's really interesting as we were hearing about the the the ukraine issue affecting this increase increasing the price of gas or the availability of gas. >> i think for the neon it's perfect. >> harvey, that it's you know that you're going to make you're going to have this really in your on or so i mean

it's just interesting conflicts of everything going on. >> i didn't know that about the neon until it happened. it was really i mean isn't that interesting very short period of time. >> we don't we don't think about how these things, you know, in other places affect this. i mean it does emotionally and certainly personally but this really shows the effect of everything and it's perfect for the harvey terminal. so thank you for working on this and i can't wait to see it more to come. >> yeah. yeah, absolutely. i know the questions. yes, please. commissioner perez. hello. thank you. this is my first time seeing it so thank you so much for bringing it to us and it's very, very exciting. i just like a few questions. did you say lite-brite is based in new york? is it being fabricated in new york or correct? okay. and then shipped over here. >> that's right. yeah. you can actually start to see some of the creating there in these pictures. so alison and i will actually

be out in kingston, new york in january doing an in-person inspection. >> it's going to come in a train or they'll be in flatbed flat rocks most likely to be determined. >> we're waiting how many trucks will it take? i'm sorry how many trucks will it take? >> i don't know. we're waiting to finalize our transportation plan. right? i'm not quite sure. i don't have the details on that yet but that will be coming very soon. >> all right. it's going to be outside the terminal. >> is it indoors? it's it's outside and outside. right. because i see like there's a slide that may be a good point of reference there. there's like that the drop off location. >> yeah, exactly. you can see in this upper right well no sorry better the lower left shows the underpass the arrivals level underpass although the slide makes it look like it may even be indoors. that's not the case. that's it. let's say you collect your baggage and you're going to meet family or a taxi. it's when you step through those doors and you're actually out at curb that's where the artwork would be installed. >> all right.

wow. all right. exciting. so i guess the conservation package will help with the maintenance because being outdoors and potentially people touching it and throwing things at it will help repair and protect. >> yes. yes. and we have we've kind of anticipated all of those various interventions. right. with passengers and we actually had a mock up a piece that was you could see one of these elements we these kind of bow tie shaped elements. we will have the disco ball hanging through the middle. we actually installed one at the terminal and had it in place for about a year or maybe a little over just to see what the interaction was, what the maintenance needs and it performed. they performed better than expected. we didn't have any issues but you know, we know that you know, there's a potential for that and we will have replacement replacement glass maintenance plan and conservation experts at the ready so all right. >> it's going to be long term is going to be there forever. so hopefully. >> okay. and last question will be piped in disco music music to go with

the disco on you would have to provide your female yeah, yeah. all right. which gives you a world of possibilities. all right. >> silent disco. yeah, yeah, yeah, yeah. thank you so much. so exciting, commissioner gwen i'm glad that there's this conservation package coming forward that you feel confident in so that we don't end up with like the same thing that we did at the castro theater where it said like castro theater i forget which letter was like always missing for many, many years. >> so thank you for bringing this forward. >> very happy to approve this and this is so rad eco mm hmm. maybe. i think so. artistic. yeah. it's so real. >> so cool. yeah. that's gen x. yeah. yeah. i use awesome a lot of descriptive words. they work. any other commissioner comments or questions? thank you so much, marcus. and yeah, i don't know if anybody noticed i smiled the whole way through this presentation.

>> good. it's just so exciting. >> i am so happy for it. one last note as well actually president chuck collins sent me a instagram post. it was a influencer who had gone to the harvey milk terminal and was like wow look at all this amazing art. >> i see some people have seen it as well and really just acknowledging one of the things that we bring up any time and i know sometimes it's almost like i am beating a dead horse but it is not because it is really like such an amazing accomplishment of our city of s.f. they see specifically the collaboration we have with s.f. oh that airport is equivalent to modern art museums around the world and we have so much to be proud of and it is our way of saying welcome to our city and goodbye from our city and really reflects our values and our culture and it is such a beautiful space. i was just there went through the afrofuturism museum exhibit

that they had and it was just amazing and it just makes me so proud one to be a part of this team and doing the work that we do and then also to be a san franciscan you know this really just is such a forward facing way to say to the world what we do here in terms of the art we do and the culture that we represent. so thank you for doing this. and yes, i mean talk about a show stopper. one thing i do agree with commissioner slay if there is a way to like stamp our name all over it because i didn't notice in that video, you know, that person was acknowledging the amazing art that was there was acknowledging that it was asafo. they did not acknowledge or probably know that it had anything to do with us. fhc so how can we let the world know that we are in collaboration to make this amazing space at our airport let let alone around our city you know that we'll be we will have plaques, we will have art, we have artists black that will have our logo on that man and maybe just the qr codes i know usually they link back to the artist.

is there one that can give any information about us if they see and link back maybe to sfa see especially something at the airport that can link back to our calendar and or the map of public art in the city something like that. >> i mean. all right. thank you so much. >> any other commissioner comments or questions? i just feel bad for terminal two and three so get her up. >> well every time we raise the bar the cycle starts a new like that. to that point, commissioner beltran here i also wanted to mention that one of our biggest advocates has been brenda tucker myself travel. so she's like put up these award winning video is a showcase sfo as well as the other public art around the city and she always puts our logo there so we might want to consult with her in terms of when this launches to be able to have another highlight reel.

>> what was her name? brenda tucker yeah, yeah that's great and i'm assuming and i'm hoping along the lines of those questions that there is open conversation with us of travel . it seems like a perfect collaboration with what as a face this staff work that you guys are doing so thank you. all right i think we have no more comments and questions from commissioners so opening it up for public comment is there any public comment on item eight? the san francisco international airport harvey milk terminal one underpass lighting project . >> if you'd like to make public comment please proceed to the podium and fill out the an information card currently on item eight as a reminder your time will start when you begin speaking you will see a visual timer and receive a 32nd audible warning before your time concludes. >> is there anyone who'd like to make public comment on the current agenda item? there's no public comment. >> thank you tara. then i'd like to ask for a motion so move commissioner belcher second commissioner quint thank you commissioners.

>> all those in favor say aye i opposed say nay. >> motion passes unanimously. thanks everyone. it's marcus. all right. calling item nine the staff report. we have a discussion and i'd like to introduce civic art collection public art program director mary chew to present hi mary i commissioners so a reminder that we have a rfp up for existing sculpture to be placed at civic center this is for next year. the installation should be between six months and a year period. this will be at the same time as the shaping legacy five temporary projects are installed and so we are hoping that there is a connection between the work that we're doing with shaping legacy in this work that it will the goal of it is to provide an opportunity for tele inclusive histories for civic memory and belonging and to generate

community dialog. and so if you know of any existing sculptures out there of a scale that will be have a presence at civic center, please let us know we're happy to reach out to the artists. >> the deadline for the rfp is january 12th and that's it. >> thank you so much. he said january 12th. yes. deadline okay, great. >> and just remind us, mary, all rfp and rfq are on the web site. >> yes, they are on our website. thank you. all right. any commissioner comments or questions? seeing none is there any public comment on item number nine? >> the staff report? if you'd like to make public comment, please proceed to the podium and fill out an information card. we're currently on item nine as a reminder your time will start when you begin speaking you'll see a visual timer and receive 32nd audible warning before your time concludes. is there anyone who like to make public comment on the on the current agenda item? there's no public comment. thank you, tara. all right then i would like to

call item ten new business and announcements. this item is to allow commissioners to introduce without discussion new agenda items for consideration to report on recent art activities and to make announcements in accordance with property. >> do we have any new business and announcements? yes please ralph. commissioner pierce thank you so much. just to put on the radar of the commissioners that on december third will be the commission's streamlining task force meeting at 1 p.m. so you might want to come and make your voices heard about the existence of the arts commission since we are spoke so in favor of the arts commission. it'd be great to hear that on the record. so that would be december 3rd at 1 p.m. and where would that take place? that'll be here in city hall. do i have a room? we'll get you the room but it will be here in city hall.

we'll send it to you. comment has sent it or is in the process in monroe will probably send it as well is there is there going to be like they did with the other meeting where you have i think i'm sorry is there anything is there going to be like the meeting i went to the other day they had to sign up or this is separate from the merger the merger meetings that they held. this is for the commission streamlining task force. so there so this is talking about whether or not the arts commission should exist or be advisory or be governance or you know, whether cd-r goes to planning those kinds of things . so those issues if you have any thoughts or feelings about any of those things and you want to come to that meeting and express yourselves. thank you. director remington and just to clarify, so december 3rd city hall and then will you post on the website when yes come and we'll post all of this

and we'll send out communications. fantastic. thank you. >> i also i mean i think we all got an email but i wanted to remind everybody that on monday, december first at 5:00 is the f a sfa c holiday celebration and employee recognition celebration and we're going to we're going to be recognizing people with anniversary milestones of five, ten, 15, 20 and 35 years of service. >> is there anyone who actually has 35 years of service right now before hmm. >> okay. do we know who's going to be recognized at that meeting? no. >> it's a mystery. it's a surprise. okay. i'm just reminding everyone put that on your calendar. i wasn't able to make it last year because i was out of town but i did the year before was a lot of fun to thank you, commissioner. >> any other new business or announcements i just want to call attention to the new cause

family that just opened at moma and it's up for quite a while. november 15th through may 3rd 2026. great example of pop art and awesome exhibit that's going to be in moma so definitely recommend. all right. any other nope not seeing any other comments or discussion on new business and announcements . do we have any public comment on item ten new business and announcements? >> would you like to make a public comment? please proceed to the podium and fill out information card. we're currently on item ten as a reminder your time will start when you begin speaking you'll see a visual timer or receive a 32nd audible warning before your time concludes. >> is there anyone who'd like to make public comment on screen agenda items? >> there's no public comment. >> thank you tara. all right then with that i'd like to call item 11 adjournment. this meeting is adjourned. thank you everyone. >> okay, we s.f. gov tv san

francisco government television . i'm mayor daniel lurie here in san francisco. we're working every single day to help homeless families and individuals get on a path to stability. in july as part of that plan i

signed legislation to help hundreds of families living in their vehicles move into stable housing. we've already seen success relocating households including some with some u.s. students from rvs to apartments. if you are a landlord or property owner you can help. >> we've secured 13 million dollars for rapid rehousing vehicle buybacks, outreach and enforcement. >> through this program we can offer landlords real benefits including guaranteed rent, dedicate in case management support, reliable points of contact and a streamlined placement process. we have hundreds of families who are ready to be great tenants in this program. you can help change lives and keep your units filled with rent guaranteed tenants. we want you to be part of the solution so that every san franciscan has a place to call home.

the outreach that we've been performing over the last two months has primarily been through the san francisco homeless outreach team as well as our homeless engagement assistance response team or heart to ensure that they know about this program to figure out whether or not they're eligible for a refuge permit and to make sure that they know what's coming and next phases of the program no hud team our teams have been out there on the streets every single day working and engaging with occupants of rvs to make sure they know about the program and to also make sure that they know how to get permitted into the program if they are eligible. the cost of living in san francisco wasn't as bad as it is now. you know, so everybody is getting pushed out of san francisco is not as easy. they weren't mainly i grew up in the fillmore total. i'm a living in an rv motorhome for about five years. i got my you know, one day at a time and i made it work.

it's a struggle but you got to do what you got to do keep know, count your blessings and hope for the best and hopefully some happen something something good comes out of the city's new strategy to address rv homelessness and oversize vehicles is really rooted in compassion and service for people experiencing homelessness. >> our department's role is to be out there talking with folks, outreaching to people living in their vehicles, connecting them with housing and services, making sure they have access to the vehicle buyback program 28 for the are going to get a few thousand dollars for their rv and also access facebook instagram. >> okay. i mentioned to myself poor kid i just i was in a delivery employee. yep i said quite clear cause i carry a case that one said when we all got my say with no message to say whatever case you're preparing for and the lead time for a category e

distress and of course that made of you better i would i do have a fetus in me up workout every once in a while that with empties and then we have focused both here and that would be federal and i keep us the left area of work which allows for specific time and lot in my field of my hard work a key when i do that i come to a yet missed by by simply said the amateur i have not any any special person and not in the end the appeal but that in la casa can be a key use in in my simple but i will need a key that in in that case it's really important for san francisco to be able to

balance the needs of people living in large vehicles while also balancing the needs of the community and the impacts that these large vehicles may have in certain communities. so we are working directly with people who live in large vehicles to get them access to priority of rapid rehousing and non congregate shelter to make sure that they're able to get from an unstable living environment in a vehicle into a much more stable living environment in either non congregate shelter or housing the large vehicle rapid rehousing programs provide rental assistance move in support in case management to help households living in large vehicles move into permanent housing. when you partner with us you're not on your own. a support services team is already working with the household before they're matched to your unit and stays involved throughout the tenancy

. san francisco's rental market moves fast most units lease within days and we hear you that our application inspection and payment processes can take too long. that timing gap means that ready families can miss out on crucial permanent housing opportunities. that's why we're launching the unit hold program with support from breaking the cycle fund will pay you one month's rent to hold your unit while we complete the matching and your application process you get a move in ready tenant without the extended vacancy we're starting to pre-qualify units on november 17th so you'll see faster moving less vacancy and smoother coordination from day one all nothing is included during those and using many you see more in the physical policy system pasando a damning bottle

of minions for being nominated confirms that they have a tougher time with el principio than the one with young miss. when you work with someone same i can only personally interview i kept it up i sat all along my love went up i said i see in the line you know i was complacent the i say you the opinion you're you're from press release you let italians then i was lonely let me know you say what else you see if they're going to say you like it well i said i was on my like a little of fame and know that okay want i say what i like oh

well i mean i sent them way about this evening which i've got to ask for life of lilac and i had no speech here in the big sign he can just thank you so well today we're here finalize the whole thing and i'll be getting my keys to my apartment and moving my things in and it'll be a done deal that people come to those who wait and i'm always telling myself i ain't got nothing coming you and getting nothing for you or telling myself that oh you know so i'm looking and here's your key. >> all right, we'll partner one lousy one robot. how about that? welcome to westlake and where i

live in spain, man, i'm feeling you. get inside. you know, overwhelming is good masculine work. oh yeah. oversight is really the more safety you know, security and more of a home we feel like in my first night when my head down and i want to thank the program and bold and excel and the team and do my best not to hold it down. we need landlords like you to make this work right now we have over 300 households ready to move into permanent housing. these are families with children working people, seniors. they have rental assistance

lined up and case management support. what they need are available units. >> the unit full program solves a real timing problem san francisco's rental market can move faster than our administrative processes. you'll receive a one month full payment while we complete the applications and inspections so you're not losing income while we match tenants to your unit. >> once tenants move in you get guaranteed on time rental assistance payments, case management support for your tenants and a direct city contact for coordination and support. if you have a unit available or coming available visit s.f. dot gov slash lv program or email us at large vehicle program at s.f. golf course we're accepting applications starting november seventh. these families are ready. they just need the opportunity. thank you for being part of what makes san francisco work

for everyonesan francisco is a e rise? office buildings are filling up. hotel occupancy is rising and visitors and residents are coming back to our downtown. just as importantly, small businesses in neighborhood corridors are finding new opportunities to grow and build. and every part of our city this

momentum could not happen without the incredible work of our community benefit districts or cbds. these are public private partnerships where local property owners come together to invest in their neighborhoods future. this funding goes right back to the neighborhood to support services that make sidewalks cleaner public spaces more inviting and streets friendlier with ambassadors and events that bring people together. they are important partners for our city government and san francisco is home to 16 community benefit districts each one doing critical work to ensure our city's diverse neighborhood corridors continue to thrive. we are even standing in one right now right here. here's a closer look at two of these cbds and the impact they're making on the ground.

let's go san francisco. hi there. i'm scott roberts. i'm the executive director for the yorba linda partnership. we're the community benefit district here and you're ever bueno which is downtown. we work with small businesses, large businesses, hotels, the convention centers and really work to create a vibrant, thriving neighborhood. we're real proud of so many of the investments we've made over the years since we've been here and we've invested over $2 million in those communities from art murals, events, safety programs, beautification programs. and so it's really a way of tying it all together and lifting up our community. we have a great small business program here. we work with small businesses from all the way through their lifecycle from early development planning to launch their organization in our neighborhood to promotion year round to really connect their day to day to our day to day and build business partnerships ,community partnerships and really make them thrive, grow and develop in our neighborhood. we have an amazing ambassador program that's out on the

street every day and they do cleaning. they do welcoming and they do power washing and they do amazing programs with all that beautify the neighborhood. another great project we have is our annie alley redevelopment project a multiyear process where we redeveloped a plaza, built it into a thriving space. and now what you see there is small business activation hotels, daily activity, entertainment sale. and so it's really building the conditions for a ripe environment for activations, energy and community vitality. >> hi, i'm alma castellanos and i've lived and worked in the excelsior district now for 17 years. i sit as the vice chair for the excelsior action group community benefits district. >> we chose to pursue a cbd because the program is built around the specific needs of our diverse neighborhood allowing us to truly reflect and respond to the community we serve. our cvb was created to give the neighborhood a sustainable way to fund improvements in the excelsior things like daily cleaning, ongoing maintenance

and beautification projects. >> that means we have amazing resources to keep the district clean, well-maintained and welcoming. >> it also lets us support long standing small businesses and bring in new ones to serve our community and the city. all of this helps businesses grow and celebrates the character that makes the excelsior unique. for me the cbd gave us the tools to keep streets clean and safe. >> build event infrastructure and support small businesses through advising grant support and neighborhood branding across san francisco community benefit districts. set up to meet the needs of neighbors, businesses, property owners and public partners alike to create cleaner, safer and more vibrant corridors. hello.

>> i'm sherry stasi smith, director of the department of children, youth and their families also known as dci after afterschool programs are more than a safe place for kids they are a lifeline for working families. they are a space where children and you can explore build connections, gain confidence and engage in experiences that will help shape who they become every afternoon. these programs keep the lights on for thousands of children through the children and youth of san francisco invest millions each year so children and youth too can learn, be creative and find joy after the school day. >> today i am celebrating our fantastic partnership with san francisco's department of children, youth and their families who work with us to make sure that our students especially those from low income and working families

receive high quality programs each and every day that reinforce classroom learning social emotional wellness and spark curiosity. these programs are part of our city's commitment to equity and opportunity for every single student in san francisco. >> advocacy our freedom school offers free programing designed to uplift the whole family. we serve kindergarten all the way to transitional age youth coming out of the foster care system. we help students build strong self and culture identity, academic success and support their wellness by also providing parents education to ensure every family thrives together. >> i like coming to booker t because everybody every day there's either a new activity. usually we use wheels. we usually use stuff that would

usually go in lego technics. it's kind of like a lego engineering class. my favorite things about the program is food playground. my friends my favorite activity here to do a booker t one is group and the gym base camp has deep roots in the community and supports 60 students during the school year and 90 each summer. families count on our program with many returning year after year. >> my name is edwin. i'm with degree and a companion to one of my favorite activities was mr. moore to our finish. >> hi, my name is renzo. >> this is my brother in law. one thing i really like that we did we made a volcano. >> my name is correia. i'm eight and i'm in third grade and i go to cuba. we're making sculptures with

clay and making like food for our characters. all right. let's start with

and good afternoon everyone. >> this webinar is being transcribed and summarized. >>